EF: You went to NYU. Do you think an
education in acting/theater is necessary to be a good actor? Is it more
of an inherent talent that you cultivate along the way?

DJ: For me it was a condition that I go to a university where I
could not only get an arts education but a liberal arts education as well.
That was a condition of my parents paying for school. It was valuable
for me to study other things and make me a more rounded person. In regards
to going to school or not, I've seen amazing talent who did not go to
college for it. I know hugely talented people that I went to school with
who haven't worked at all. I don't know the answer to that. I would
always encourage a young performer to continue to study. I think it is
important. It shows a certain respect for your craft to study it. For me
it was the right thing to do. I don't know if it is the formula to
succeed.

EF: You are an actor, singer and dancer. In what order would
you put those?

DJ: Oh boy. I would say it is probably actor, dancer, and then
singer. Most of the studying I've done has been in acting. My intention
when I moved from San Francisco to New York was to give up the dancing all
together. I wanted to be an actor. I'm such a fan of musical theater.
My dance training was in my younger years. There are amazing dancers out
there in shows like Fosse. I don't pretend to put myself in any
category with those kids there. What they can do is amazing. It takes so
much training and energy. I studied voice but consider myself a singing
actor. I won't be coming out with a CD. I can get my way through a song
but don't look for that CD (laughing).

For Broadway BaresPhoto: Max Vadukul

EF: Let's talk about Broadway Cares Equity Fights AIDS. I've
had the opportunity to both volunteer and contribute. It is a great
organization. I know you have done Broadway Bares. How did you get
involved with them?

DJ: I have been very involved with that benefit on and off for
the last 5 years as well as the Easter Bonnet competition and the flea
market. All things Broadway Cares are worthwhile doing. I just love
those people. My standard answer anytime they ask me to help out is
absolutely. The organization doesn't absorb for itself but gives it back
and that is why so many in this community give so selflessly of
themselves. I guess they were rated in "Money Magazine" in the top 10 of
charitable organizations by how much was raised and given back. Everyone
just gives his or her time without payment. I really get a little choked
up when I talk about Broadway Cares people. They are just great!

I love doing the collections after the show as often
as possible. People see a show they love and then to give that extra
dollar is something they really want to do. It is a nice expression of
the audience's appreciation of the show to give money to a cause the
company has championed. To get that one on one connection with audience
members who love the show is gratifying as an actor.

EF: Let me name a show and perhaps you can give me a few lines
on what that experience was like for you. Let's start with
Chicago:

DJ: Daunting situation as first. It ended up being an amazing
experience. It had been opened for 2 weeks and I went in as a swing. To
come into a show that was so white hot and to work with the likes of Ann
Reinking, Bebe Neuwirth, Joel Grey and an ensemble where many had worked
with Bob Fosse ... I had appreciated his work as an audience member but did
not have any experience with that style of dancing and movement. It was
nerve wracking. I found my way in the company though and eventually became
dance captain. It is a fantastic show.

EF:Little Me?

DJ: I loved that experience so much. Rob Marshall and Martin
Short are just geniuses. It was such a fun show to work on and such a
nice group of people. It felt like a tiny part of my heart broke when I
read the reviews. It was disappointing. To a great extent, the NY critics
did not embrace it. I thought it was a funny, perfect, joyful show. It
was successful in its limited run and Martin Short won a Tony for it. I
think the people who came to see it enjoyed it. The press didn't share my
deep feeling about the show and that got me down for a little bit. I look
back at that experience with such fond memories.

In A Chorus Line

EF: A Chorus Line?

DJ: You know I got my equity card doing A Chorus Line.
I actually did four Chorus Lines in fairly rapid succession. I played
Mark in the first production and then Mike in the three that followed. I
had a really wonderful experience as a part of the opening in [BC/EFA's] Gypsy of the
Year last year when they brought the original Chorus Line members on.
People were freaking out when they formed that line at the end.

EF: I had a tear in my eye. There were people screaming.

DJ: It was very moving.

EF: You know I'm just looking at the door of your
dressing room and there is a sticker that reads "We don't need no stinkin'
Tony's!" It was believed that had The Producers not come along
when it did, The Full Monty might have swept quite a few of the
awards. How is the cast dealing with it?

DJ: Everyone is fine now. It was disappointing certainly.
Fortunately, we can live beyond that. Business is great here and I think
it will continue. We are in a fortunate position and I don't take that
for granted. I feel badly for so many shows that could have used some
recognition to stay in business. I saw The Producers in previews.
It was amazing. I just loved it. It isn't a sour grapes situation. They
deserved all the hype they have gotten. It would have been nice for us to
win a few things. The reception we get each night is in the end more
important than an award. When you take the curtain call and feel that
response it is great. During the Tonys, before we went on, we had some of
the cast sit in the audience in preparation for our number. During the
commercial break, I ran into some people I knew and everyone was so warm
and excited and mentioned how they loved the show. It was such a nice
spirit. It wasn't tense or competitive at all.

EF: How would you define success in terms of being an actor?

DJ: I used to think it was making a living at it. Now I also
want to try to have a career full of as many projects that I care about as
possible. This show has been such a tremendous gift and remains so every
night. I feel very successful at the moment and I'm very grateful.

EF: You mentioned all the fans before. Do you think there is
an obligation to the audience beyond the show?

DJ: For myself, yes because I remember very well what it was
like to be that person waiting at the stage door and how much it meant to
me to get an autograph. It is so gratifying to hear the responses of
audience members. It is nice to meet people and talk with them after the
show. Do I think it is an obligation for everyone? No. There are
performers who are really uncomfortable with that and if they give 100%
onstage they have fulfilled their obligation.

There is something people
waiting at the stage door should know. I know when I play Keno, it is a
minor character and it isn't one of the leads. I would feel
uncomfortable presuming they want my autograph. So, unless someone
approaches me, I don't burst out of the door with my arms wide open. I
know when performers come out and go through the crowd, it can be misread
as not being gracious.

EF: What advice would you give to people who want to get into
the business?

DJ: (after lengthy consideration). It is a hard question
because to decide to pursue a career in the arts is a tough decision. It
is very very difficult. It doesn't necessarily get easier. You can
progress to a level in your career where people know who you are and more
opportunities are available to you but it remains hard. To make a
decision to be in this business, you have to do some soul searching. You
have got to muster up that determination and treat everyone with respect
and treat each job with respect. Don't call in all the time, be a good
employee not just a good actor. It is about respect for yourself and what
you do. If you are able to make a career out of it, really be thankful
that you are getting paid for what you love to do. It is such a
tremendous blessing.

Thoughts and Reflections
Let's face it, an actor's strength is pretending to be someone else and
making it believable. Getting a glimpse of what makes an actor tick and
make his work more believable is truly enjoyable and was a highlight of
this interview with Denis.
He is a thoughtful, considerate person who
often reflected on his answers to questions. His capacity to give of
himself to promote a cause may not be unique just to him but certainly
showcases what he is all about. He is a compassionate human being with
inner strength and commitment that translate on stage in his wonderful
performances.

Broadway producers have made the practice in recent years of injecting TV
and film stars into musical productions. This is not necessarily a bad
thing but is not always successful. The search for musical theater talent
should not be limited to these stars. In the case of Denis Jones, the
search for true talent succeeded. Donna McKechnie (A Chorus Line)
put it well when she said; "doing a musical is not just acting. It
really is a lifetime of direction to build the craft, the confidence and
the ability to sing and dance and act believably." I think this sums up
Denis quite nicely. Go see for yourself. The Full Monty plays at
the Eugene O'Neill Theatre.